The gripping new crime novel in the Peter Decker and Rina Lazarus series from New York Times bestselling author Faye Kellerman.
Detective Peter Decker and his wife Rina Lazarus have moved from the chaos of L.A. to upstate New York, to a quiet town that is home to elite colleges and pensioners. Semi-retired and faced with mundane call-outs at the Greenbury Police Department, Decker is becoming bored of life. So when he is called about a potential break-in at the local cemetery, he jumps at the opportunity to investigate.
The Bergman crypt contains four intricately designed stained glass windows, one for each season, two of which are confirmed as definitely fake. Along with young Harvard graduate, Tyler McAdams, Decker must solve the mystery of the forgeries. His search leads him to Manhattan, although perhaps he should look closer to home: when a co-ed is brutally murdered at a local colleges, Decker must put his search for the art thief on hold. But not for long…
'Kellerman is an excellent writer' The Times
'Very exciting' Daily Mail
'Brutal but thoughtful and well plotted, fast moving and well told' Observer
'Kellerman creates a claustrophobic atmosphere, against a background of seediness, violence and distrust' Sunday Telegraph
'Kellerman moves her gritty mean streets LA plot along with breakneck pace' Irish Independent
About the author
Born in St. Louis, Faye Kellerman is one of the most highly considered US crime authors. Her first novel, ‘The Ritual Bath’ (1986) introduced Sergeant Peter Decker and Rina Lazarus. It also won the 1987 Macavity Award for Best First Mystery. Kellerman currently lives in Beverly Hills with her husband and four children.
Art theft provides the theme for bestseller Kellerman's deftly researched 22nd Peter Dekker/Rina Lazarus novel (after 2013's The Beast). Dekker, recently retired from the LAPD, has traded palm trees and sunshine for the snowy winters of upstate New York, taking a job in law enforcement in the sleepy college town of Greenbury. The effect of Dekker's Orthodox Jewish beliefs add color to the narrative: for example, when he looks into a theft from a cemetery, it's Shabbat, so he has to travel on foot, instead of by car. After two homicides in the area, Dekker picks up the trail of an art thief whose sights are set higher than a few graveyard treasures. While Kellerman includes too many unimportant details in the story, whether the description of an apartment's heating system or an unappetizing kosher dinner, her skillful development of characters, both old and new, somewhat atones for this, and almost excuses this installment's lapses in tension.